유리지와 현대공예교육 -1970년대 미국 공예교육의 영향을 중심으로-
Yoo Lizzy and Contemporary Craft Education -focused on the influence of American craft education in the 1970s-
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이 연구는 금속공예가 유리지가 1960-80년대 한국과 미국에서 교육받은 내용과 이후 한국으로 돌아와 교육한 활동을 고찰하여, 한국 현대공예교육의 전개 과정에서 유리지가 담당한 역할과 그 영향에대한 분석을 목적으로 한다. 한국의 고등교육과정에서 현대공예교육은 1960년을 전후해 시작되었으나, 1960년대까지는 실제 제작교육을 할 수 있는 환경이 마련되지 않아 대개 제작을 외부에 의뢰하는‘발주공예’ 방식으로 교육이 진행되었다. 따라서 유리지가 1960년대에 서울대학교 공예교육 교과과정에서 접한 공예 실기는 제한적이었다. 이후 유리지는 미국 타일러미술대학 대학원에 진학하여 공예품제작의 전 과정을 작가 스스로 책임져야 한다는 사실을 배운다. 더불어 당시 미국 공예계를 물들인‘표현’적 예술관을 수용함으로써 예술가적 정체성을 확립하게 된다. 귀국 후에는 미국에서 받은 교육을 이행하며 한국 현대 금속공예교육의 주축이 되었다. 연구를 위해 해외의 구술채록 자료와 유리지아카이브를 주로 활용했으며 개별 심층 인터뷰를 진행하여 연구의 밀도를 높였다. 특히 1970년대 타일러미술대학의 교육 프로그램을 자세히 살펴봄으로써, 개인의 변화상과 그로부터 파생된 교육적 영향력을 꼼꼼히 분석하였다. 결과적으로, 1970년대 말 교편을 잡은 유리지를 비롯한 일군의 유학 세대가 중심이 되어 금속공예의 ‘제작’ 실기교육이 본격화된 사실을 확인할 수 있었다. 또한, 미국 현대공예교육에서 영향을 받은 표현주의 예술관이 현대공예를 규정하는 중요한 개념으로 교육되었고, 유학세대의 교육과 국제 교류 활성화로 인해 1980년대 공예의 순수미술화 경향이 국내에 확산되었음을파악하였다.
Abstract
This thesis studies a metal craft artist Yoo Lizzy’s education she received in Korea and the United States from 1960s to 1970s, and the education she taught after she came back to Korea in 1980s. It aims to analyze the role Yoo took in the Korean contemporary craft education and her influence. In Korea, the contemporary craft education in higher education has begun around 1960s. However until the 1960s, the circumstance to train craft technique had not been arranged, the actual making in education often was replaced with outsourcing the production, which called ‘ordering crafts’. Therefore, the practical techniques Yoo learned in the craft education courses of Seoul National University during 1960s were limited. Later at the graduate program in Tyler School of Art in the U.S., she learned that an artist is responsible for an entire process of making a craft work. Also Yoo established her artistic identity by accepting the ‘expressive’ view of art which influenced the craft world at the time in the U.S. After she came to Korea, she became the key person in education of the Korean contemporary metal craft by carrying out the American education she experienced. In the course of study for the thesis, the oral history interviews from abroad and Yoo Lizzy Archive were mainly used, and individual in-depth interviews were conducted. By thoroughly researching the craft education at Tyler School of Art in 1970s in particular, the thesis analyzed the change in the individual and the educational influence. As the result, the actual ‘making’ in the metal craft education in Korea was fully fledged by the group of study-abroad generation including Yoo, who taught at Korean colleges from late 1970s. Also the expressive view of art was taught as an important concept defining the Korean contemporary craft by this group, and the tendency of contemporary craft moving towards fine arts was spread in Korea by the education of the same group and the vitalization of international exchange.
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